As an iPhone owner, I tend to get into the Applications culture. And why wouldn’t I? Boring waits for the bus to arrive can be supplemented with spotting differences in photos via the ESPN Cameraman app. 30 minutes can pass quickly trying to get to a new level in Cube Runner. As the popularity of iPhone apps rises, so do the amount of apps being developed, some tailoring themselves to even the geekiest of niches, even typophiles like myself.

Interested? Let’s point you in the right direction.

What the Font?

What the Font?

Ever wonder what typeface a business uses? Ever see a bad variation of Zapfino and want to know what that abomination of the eyes is called? This app can help. I haven’t gotten the chance to really test this app out, but it’s FREE, so why not give a shot?

FORMation’s Kern

KERN by FORMation

This comes via @rogerb on twitter (which by the way, if you want to follow me on twitter, please do).

KERN is pretty fun. Although the touchiness of the iPhone touch screen sometimes makes this game difficult, I was pretty entranced by this game immediately. Check the video on the KERN page to see how it works. Although this game costs $1, I’d still recommend cracking your virtual wallet to give it a shot. FORMation’s Eye vs. Eye app is also pretty fun.

FontShuffle basically works as a portable type catalog. It allows you to sort through several variation of a typeface, whether it be serif or sans, venetian or baroque, etc etc. I haven’t tried this out much, but I imagine it might be a good time when one needs to geek out on type variations. Neat stuff.

I’m sure this isn’t the end of Type based applications for the iPhone, but I for one, support all that exist and might come. Maybe we can start working towards a more type-conscious world and finally put an end to bad letter spacing and glaringly bad kerning. We can only hope.

Recently the newly elected mayor of Portland, Sam Adams, got himself in a little hot water, enough for several publications to call for his immediate resignation. Despite everything, a lot of Portland remains in support of Adams. Via Design Observer, I came across one designer who is using his/her talent to further that support, even allowing people to submit slogans for the signs and a download of a ‘Forgive Sam Adams’ poster. Click the link below for more posters and ways to lend support.

First up is “grunge typographer” David Carson. I can’t say I’m the biggest fan of his work or persona, but I did enjoy this quite a bit. Maybe a newfound respect? At any rate, this is great. I particularly enjoyed his views about design schools. Check it.

Late Night with Jimmy Fallon Logo . 3 designs made by the fabulous Number 17 firm and people got to vote on them. See below, but go to the site and check out the video. Interesting stuff there. (I like the 2nd one.)

I’m sure you know all about the show by now and if you don’t, I imagine there’s better sources than here to get caught up (or if you really want to get involved, http://www.hulu.com has all the episodes thus far).

Let’s talk about the motion type sequences that set the theme in the beginning and throughout. Pardon the cruddy screenshots, but they will have to do!

Above is the opening titling sequence where, as you can see, the type comes together in pieces to form this nice 3-D bold word. Fellow blogger and classmate Corey T (http://www.shapesofsweetness.com) and myself have been pondering what typeface is being used here. I’m thinking some variant of Futura (condensed light maybe?), but any help there would be appreciated. Now, a glitzy titling sequence isn’t unheard of in shows these days, but what FRINGE might excel at is incorporating type within the show in way I haven’t seen.

From the show: Type in environment.

(I like and appreciate how the type is getting rained on just the same as the actual environment.–ed.)

(I believe the typeface within the show is Helvetica Bold. –ed.)

Regardless of what you might think or feel about this show, I mean, that’s just fucking cool. It makes a type nerd like myself coming back for more.

Although fucking cool, it just doesn’t measure up to the eerie awesomeness of the Panic Room opening credits. I thought I would share:

I can say with a lot of confidence that The Clash are easily my favorite band. Combining that with a bad vinyl habit, I find myself seeking and picking up Clash LP’s from time to time. When I ran across a Lot on eBay that included the Rock the Casbah 12″ EP (1982) I didn’t think much of it, until I scoped the artwork on it. From them on, I was entranced with the need to own this if only to stare longingly at what could be the worst but arguably best cover art trainwreck to have ever occurred.

See for yourself:

You have to sit back and wonder whether the band was in on the discussions of the artwork at all or if by that point they just didn’t care. I don’t feel bad mentioning that Combat Rock (the long player this single comes from) was probably furthest from the Clash’s then pretty prominent (and in my mind, pretty great) aesthetic (Ok, Cut the Crap is kind of a trainwreck too). Oh, the 1980’s….

More on Post Typography to come I’m sure, but in the meantime, I highly suggest you check out every single aspect of their site: http://www.postypography.com including their portfolio, extra-typography and manifesto.